Bradley Cooper’s film “Maestro” premiered in Venice this fall, it seemed his moment of glory had finally arrived.The “Hangover” star’s direction of the prestige drama and his performance as famed “West Side Story” composer and conductor Leonard Bernstein were greeted enthusiastically by critics.
The pretentious historical movie is, of course, the sort of thing the press tends to rubber-stamp automatically.The picture is about a real person; a big chunk of it was shot in black and white; the main character leads a secret gay life in New York City and ages some 40 years over the course of the story.
Cooper is slathered in a Freddy Kreuger mound of makeup and prosthetics. That’s a foolproof rubric straight out of “How To Succeed At The Oscars Without Really Trying.”Boosting its awards season chances further, after “Maestro” landed at Netflix’s brick-and-mortar theaters, the Paris in New York and the Egyptian in LA (plus a few others), the culturati were predictably abuzz.The Bernstein flick, they declared, would be Cooper’s first Oscar for Best Actor — or, well, for Best anything.
The actor has lost nine times before in various categories, besting — worsting? — the eight winless nominations of both Glenn Close and Peter O’Toole.
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